Romuald Hazoumè's Found Object Masks At October Gallery Address Global Crises
Hazoumè's works, part of his“masques bidons” (fake masks) series, utilize the inherent shapes of the vessels, transforming handles into noses and circular openings into mouths. Unlike Picasso, whose“Blue Period” stemmed from personal grief, Hazoumè focuses on broader themes of ecological destruction, genocide, and human cruelty. His newer pieces specifically highlight individual tragedies, such as“the mother in Gaza killed by a sniper while seeking bread for her children” and“the grief-stricken Russian widow, who poisoned herself after both her sons died.”
The artist explained his creative process:“My intention is always to create works where no single element is ever overtaken by another. For me, it's crucial that you never lose sight of the container (bidon) yet still believe in the illusion. The bidon's presence taunts you, making you conscious that it's you projecting that 'face' you 'see' onto those plastic materials.” He further elaborated on the emotional impact of his work:“This work I do affects me deeply. I'm not making masks for other people, I'm making them for myself, trying to translate what I feel into something concrete, which stands apart from me, but reflects my innermost feelings.”
The exhibition includes pieces such as“Kongo” (2024-25), found objects, 40 x 40 x 15 centimeters;“Shoshi” (2026), found objects, 48 x 31 x 22 centimeters;“Soulagée” (2025), found objects, 33 x 20 x 24 centimeters;“Chênnai” (2024-25), found objects, 58 x 30 x 22 centimeters; and“Thal” (2024-25), found objects, 38 x 44 x 18 centimeters. Hazoumè states,“I imagined a balancing 'blue line' to stress the need to reduce global suffering and restore some hope of positive progress. We need this blue middle ground to regain sympathy for each other, to help make life worth living again.”“My Blue Period” runs through November 21 in London.
Source: This Is Colossal
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